The Great Gatsby 읽기 35 - 96:30 ~ 101:24

[yum]

He hadn’t once ceased looking at Daisy and I think he reval‎ued everything in his house according to the measure of response it drew from her well-loved eyes. Sometimes, too, he stared around at his possessions in a dazed way as though in her actual and astounding presence none of it was any longer real. Once he nearly toppled down a flight of stairs.

- in a dazed way : 데이지(Daisy)화된 방식으로 according to the measure of response it drew from her well-loved eyes 의 결과.

His bedroom was the simplest room of all—except where the dresser was garnished with a toilet set of pure dull gold. Daisy took the brush with delight and smoothed her hair, whereupon Gatsby sat down and shaded his eyes and began to laugh.

- dull gold는 일반적인 반짝이는 금색(gold)보다 더 어둡고 탁한 금색. 보통 약간 회색빛이나 갈색빛이 섞여 있어, 화려한 금색보다는 차분하고 고풍스러운 느낌을 준다.

- shaded his eyes : 데이지의 모습이 너무 눈이 부셔서 눈을 가리고?

“It’s the funniest thing, old sport,” he said hilariously. “I can’t–when I try to—-”

참으려고 해도 도저히 참을 수가 없어.

He had passed visibly through two states and was entering upon a third. After his embarrassment and his unreasoning joy he was consumed with wonder at her presence. He had been full of the idea so long, dreamed it right through to the end, waited with his teeth set, so to speak, at an inconceivable pitch of intensity. Now, in the reaction, he was running down like an overwound clock.

- He had passed visibly through two states and was entering upon a third : 개츠비가 거의 날아다니고 있기 때문에 이렇게 된 것이라고 할 수 있다. 계단 사이의 계단을 뜻하는 flight(111:6)라는 단어는 개츠비가 거의 날아다니고 있다는 뜻을 가지기도 한다.

데이지가 화장대에 앉아서 머리 손질을 하는 그런 모습은 개츠비가 오래도록 꿈꾸어오던 것이었다.

Recovering himself in a minute he opened for us two hulking patent cabinets which held his massed suits and dressing-gowns and ties, and his shirts, piled like bricks in stacks a dozen high.

opened : dazed 되어 --> flight하다가 --> 눈이 가려졌다가(shaded his eyes) --> 정신을 차리고 연다(opened)

- hulking patent cabinets : 크기만 하고 별 특징이 없는 뻔한(patent) 장롱이라는 뜻. 그 안에는 온갖 기묘한 것들이 들어 있어서 반전이다. 데이지는 톰의 특징을 hulking physical이라고 규정지었다. 몸집만 크고 그 안에는 허접한 것들만 들어있는 톰과 겉은 수수하지만 그 안에는 진기한 것들이 들어있는 개츠비와 대조된다.

“You did it, Tom,” she said accusingly. “I know you didn’t mean to but you did do it. That’s what I get for marrying a brute of a man, a great big hulking physical specimen of a—-”

“I hate that word hulking,” objected Tom crossly, “even in kidding.”

“Hulking,” insisted Daisy. (15:3-9)

“I’ve got a man in England who buys me clothes. He sends over a selection of things at the beginning of each season, spring and fall.”

He took out a pile of shirts and began throwing them, one by one before us, shirts of sheer linen and thick silk and fine flannel which lost their folds as they fell and covered the table in many-colored disarray. While we admired he brought more and the soft rich heap mounted higher–shirts with stripes and scrolls and plaids in coral and apple-green and lavender and faint orange with monograms of Indian blue.

monogram : 모노그램, 합일 문자(주로 이름의 첫 글자들을 합쳐 한 글자 모양으로 도안한 것)

Suddenly with a strained sound, Daisy bent her head into the shirts and began to cry stormily.

“They’re such beautiful shirts,” she sobbed, her voice muffled in the thick folds. “It makes me sad because I’ve never seen such–such beautiful shirts before.”

After the house, we were to see the grounds and the swimming pool, and the hydroplane and the midsummer flowers–but outside Gatsby’s window it began to rain again so we stood in a row looking at the corrugated surface of the Sound.

“If it wasn’t for the mist we could see your home across the bay,” said Gatsby. “You always have a green light that burns all night at the end of your dock.”

- Involuntarily I glanced seaward–and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. (26:10-13)

Daisy put her arm through his abruptly but he seemed absorbed in what he had just said. Possibly it had occurred to him that the colossal significance of that light had now vanished forever. Compared to the great distance that had separated him from Daisy it had seemed very near to her, almost touching her. It had seemed as close as a star to the moon. Now it was again a green light on a dock. His count of enchanted objects had diminished by one.

- the colossal significance of that light had now vanished forever : <녹색 불빛이 가진 엄청난 의미>가 영원히 사라져버렸다. 개츠비가 데이지를 만났기 때문에.

- the great distance that had separated him from Daisy : 데이지와 개츠비의 신분 혹은 사회적 지위의 격차. 이 격차는 개츠비가 어떻게 할 수 없었던 차이.

- it had seemed very near to her, almost touching her : it은 <녹색 불빛>을 가리킨다. 녹색 불빛은 개츠비가 밤마다 바라볼 수 있었고, 그녀에게 거의 닿을 수 있었던 것이다. 그래서 개츠비에게는 엄청난 의미가 있었던 것이다.

- It had seemed as close as a star to the moon : 하늘에 달 옆에 별이 있는 것처럼, 개츠비와 데이지가 좁은 해협을 끼고 마주보고 있었으므로 가까워 보였다는 것.

I began to walk about the room, examining various indefinite objects in the half darkness. A large photograph of an elderly man in yachting costume attracted me, hung on the wall over his desk.

- indefinite objects in the half darkness : Gatsby got himself into a shadow and, while Daisy and I talked, looked conscientiously from one to the other of us with tense, unhappy eyes. (105:21-24)

“Who’s this?”

“That? That’s Mr. Dan Cody, old sport.”

The name sounded faintly familiar.

“He’s dead now. He used to be my best friend years ago.”

There was a small picture of Gatsby, also in yachting costume, on the bureau—Gatsby with his head thrown back defiantly—taken apparently when he was about eighteen.

- a small picture of Gatsby : A large photograph of an elderly man in yachting costume과 대조된다. 큰 사진과 작은 그림. 개츠비의 것은 작은 그림. 실제가 아니라서 그림을 갖다놓은 것일까?  그 그림은 뚜껑이 닫히는 bureau에 있다. 

bureau : (보통 뚜껑을 여닫을 수 있는) 책상  

“I adore it!” exclaimed Daisy. “The pompadour! You never told me you had a pompadour–or a yacht.”

- pompadour : 퐁파두르 헤어스타일. * 머리카락을 이마 위로 높이 빗어 올린 여성의 머리형이나 남자의 올백 형태의 헤어스타일을 가리킨다. 루이 15세의 정부인 마담 드 퐁파두르 (Madame de Pompadour, 1712~1764)의 이름을 딴 헤어스타일로, 18세기 사교계 여성들 사이에서 처음 유행했고 1890년대의 깁슨 걸(Gibson Girl. Charles Dana Gibson의 일러스트레이션에 묘사된 여성미의 화신) 스타일로 부활하여 제1차 세계대전까지 유행하였다. 이후에도 시기를 바꿔 가며 거듭 유행했고, 남성의 경우 엘비스 프레슬리(Elvis Presley, 1935~1977)와 같은 로큰롤 스타의 전형적인 헤어스타일이기도 했다.

“Look at this,” said Gatsby quickly. “Here’s a lot of clippings—about you.”

They stood side by side examining it. I was going to ask to see the rubies when the phone rang and Gatsby took up the receiver.

- to see the rubies : “After that I lived like a young rajah in all the capitals of Europe–Paris, Venice, Rome–collecting jewels, chiefly rubies, hunting big game, painting a little, things for myself only, and trying to forget something very sad that had happened to me long ago.” (79:1-6) *4장에서 닉은 개츠비가 뉴욕 42번가에서 점심을 하자고 청하여 처음으로 개츠비의 멋진 차를 타고 뉴욕으로 향한다. 이때 닉은 개츠비가 자신의 과거 내력에 대해 이야기하는 것을 직접 듣는다. 그 이야기 중에 가족이 죽고 홀로 남겨진 개츠비가 남겨진 유산으로 세계 여행, 맹수 사냥, 루비와 같은 보석 수집 등으로 시간을 보내며 나름의 슬픔을 달랜 다는 말이 나온다. 지금 이 대목은 개츠비의 집 내부와 그의 화려하고 고급스러운 의복 등을 구경하던 닉이 문득 그 루비'를 떠올리는 장면인데, 그가 개츠비의 정체에 대해 계속 궁금해하고 있음을 보여 준다. 원문에는 그냥 '루비'라고만 되어 있어 앞서 설명한 배경을 기억하고 있지 못할 경우 독자는 뜬금없이 '웬 루비?'라는 생각이 들 수도 있어 이 점을 고려하여 번역본 중에는 "내가 언젠 가 들은 루비”라고 번역한 경우도 있다.

“Yes...Well, I can’t talk now...I can’t talk now, old sport...I said a small town...He must know what a small town is...Well, he’s no use to us if Detroit is his idea of a small town...”

He rang off.

“Come here quick!” cried Daisy at the window.

The rain was still falling, but the darkness had parted in the west, and there was a pink and golden billow of foamy clouds above the sea.

- the darkness had parted in the west : 빛과 어둠이 나뉘어 있다: indefinite objects in the half darkness(113:8) / Gatsby got himself into a shadow and, while Daisy and I talked, looked conscientiously from one to the other of us with tense, unhappy eyes. (105:21-24)

“Look at that,” she whispered, and then after a moment: “I’d like to just get one of those pink clouds and put you in it and push you around.”

I tried to go then, but they wouldn’t hear of it; perhaps my presence made them feel more satisfactorily alone.

“I know what we’ll do,” said Gatsby, “we’ll have Klipspringer play the piano.”

He went out of the room calling “Ewing!” and returned in a few minutes accompanied by an embarrassed, slightly worn young man with shell-rimmed glasses and scanty blonde hair. He was now decently clothed in a “sport shirt” open at the neck, sneakers and duck trousers of a nebulous hue.

- Ewing : ‘ewe’는 암양이라는 뜻이고 ‘Klipspringer’는 작은 영양이라는 뜻이다. Klipspringer를 ‘암양’을 뜻하는 ewe를 변형시킨 ewing이라고 부르고 있다. 혹은 작은 영양의 울음소리를 흉내내서 부르고 있는 것으로 보인다.

“Did we interrupt your exercises?” inquired Daisy politely.

“I was asleep,” cried Mr. Klipspringer, in a spasm of embarrassment. “That is, I’d been asleep. Then I got up...”

“Klipspringer plays the piano,” said Gatsby, cutting him off. “Don’t you, Ewing, old sport?”

“I don’t play well. I don’t–I hardly play at all. I’m all out of prac—-”

“We’ll go downstairs,” interrupted Gatsby. He flipped a switch. The grey windows disappeared as the house glowed full of light.

In the music room Gatsby turned on a solitary lamp beside the piano. He lit Daisy’s cigarette from a trembling match, and sat down with her on a couch far across the room where there was no light save what the gleaming floor bounced in from the hall.

When Klipspringer had played “The Love Nest” he turned around on the bench and searched unhappily for Gatsby in the gloom.

- “The Love Nest” : 「사랑의 보금자리」, *루이스 허시(Louis Hirsch) 작곡, 오토 하바흐(Otto Harbach) 작사의 이 곡은 1920년의 코미디 『메리(Mary)』에 나오는 노래다. 개츠비와 데이지의 관계를 모른 채 얼결에 끌려 나온 클립스프링어가 연주하는 이 곡은 세상에서 지어진 수많은 집들 중에서 금박을 입힌 궁전보다도 더 좋은 것이, 소박하지만 매력이 넘치고 따뜻함과 사랑이 깃든 '사랑의 보금자리'(the love nest=home: 집, 가정)라는 낭만적인 내용을 전달하고 있다. (신현욱, p.235-236)

노래 : https://www.youtube.com/watch?v=5oTSS8J99LY

가사 : https://www.sheetmusicsinger.com/love-nest/

(Mary sings)

Many builders there have been

Since the world began

Palace, cottage, mansion, Inn

They have built for man

Some were small, and some were tall

Long or wide or low

But the best one of them all

Jack built long ago

‘Twas built in bygone days

Yet millions sing its praise

<Refrain>

Just a love nest, cozy and warm

Like a dove rest, down on a farm

A veranda with some sort of clinging vine

Then a kitchen where some rambler roses twine

Then a small room, tea set of blue

Best of all room, dream room for two

Better than a palace with a gilded dome

Is a love nest, you can call home

(Jack sings)

Building houses still goes on

Now as well as then

Ancient Jack and Jill are gone

Yet return again

Ever comes the question old

Shall we build for pride

Or shall brick and mortar hold

Warmth and love inside?

(Mary sings)

The answer you may know

Jack solved it long ago

“I’m all out of practice, you see. I told you I couldn’t play. I’m all out of prac—-”

“Don’t talk so much, old sport,” commanded Gatsby. “Play!”

In the morning,

In the evening,

Ain’t we got fun —

In the morning...fun : 이 노랫말은 바로 뒤에 나오는 “One thing’s sure... in between time과 함께 「우린 재밌었잖아?」(Ain’t We Got Fun?)에 나온다. 이 노래는 리처드 화이팅 (Richard Whiting)이 작곡하고 레이먼드 이건(Raymond Egan)과 거스 칸(Gus Kahn)이 작사하여 1921년에 발표한 대중적인 사교댄스 곡(폭스트롯)이다. ‘가난이야 어찌 됐건 매일 아침, 매일 저녁, 그리고 틈만 나면 우리는 재미를 보잖아’라는 내용은 ‘흥청거리는 20년대’(Roaring Twenties)의 상징이 되었다. ‘부자는 더 부유해지고 가난한 이는 더 가난해진다’(The rich get richer and the poor get poorer)라는 부분에서는 마지막 대목의 ‘poorer’ 대신에 children을 넣거나 함으로써 다양하게 변주하기도 하였고, 이런 장난스러운 묘미 때문에 더욱 대중적인 인기를 얻었다. (신현욱, p.236)

Ain’t We Got Fun : https://en.wikipedia.org/wiki/Ain%27t_We_Got_Fun

노래, 가사 : https://en.wikisource.org/wiki/Ain%27t_We_Got_Fun

Outside the wind was loud and there was a faint flow of thunder along the Sound. All the lights were going on in West Egg now; the electric trains, mencarrying, were plunging home through the rain from New York. It was the hour of a profound human change, and excitement was generating on the air.

One thing's sure and nothing's surer

The rich get richer and the poor get—children.

In the meantime, In between time—

- The rich get richer and the poor get

https://en.wikipedia.org/wiki/The_rich_get_richer_and_the_poor_get_poorer

"The rich get richer and the poor get poorer" is an aphorism attributed to Percy Bysshe Shelley. In A Defence of Poetry (1821, not published until 1840) Shelley remarked that the promoters of utility had exemplified the saying, "To him that hath, more shall be given; and from him that hath not, the little that he hath shall be taken away. The rich have become richer, and the poor have become poorer; and the vessel of the State is driven between the Scylla and Charybdis of anarchy and despotism."[1] It describes a positive feedback loop (a corresponding negative feedback loop would be e.g. progressive tax).

"To him that hath" etc. is a reference to Matthew 25:29 (the parable of the talents, see also Matthew effect). The aphorism is commonly evoked, with variations in wording, as a synopsis of the effect of free market capitalism producing excessive inequality.

"부자는 더 부자가 되고 가난한 사람은 더 가난해진다"는 퍼시 비시 셸리의 격언입니다. 셸리는 『시의 옹호(A Defence of Poetry)』(1821년에 쓴 수필, 그의 사후인 1840에 출판)에서 공리주의의 옹호자들이 "가진 자에게는 더 많이 주어지고, 가지지 못한 자에게는 그가 가진 작은 것을 빼앗길 것이다. 부자들은 더 부유해졌고, 가난한 자들은 더 가난해졌다. 그리고 국가라는 그릇은 무정부주의와 전제주의의 스킬라와 카리브디스 사이로 밀려난다"는 말을 예시했다고 언급했습니다. 이는 긍정적 되먹임 회로를 설명합니다(해당 부정적 되먹임 루프는 예를 들어 누진세입니다).

이 구절은 ‘무릇 있는 자는 받아 풍족하게 되고 없는 자는 그 있는 것까지 빼앗기리라’는 마태복음 25:29(달란트의 비유, 마태복음)를 참조합니다. 이 격언은 자유 시장 자본주의가 과도한 불평등을 낳는 효과를 요약한 것으로, 표현에 따라 차이가 있지만 일반적으로 널리 사용됩니다.

퍼시 비시 셸리(Percy Bysshe Shelley, 1792년 8월 4일 ~ 1822년 7월 8일)는 영국의 소설가 메리 셸리의 남편이자 낭만파 시인이다.

As I went over to say goodbye I saw that the expression‎ of bewilderment had come back into Gatsby’s face, as though a faint doubt had occurred to him as to the quality of his present happiness. Almost five years! There must have been moments even that afternoon when Daisy tumbled short of his dreams–not through her own fault but because of the colossal vitality of his illusion. It had gone beyond her, beyond everything. He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way. No amount of fire or freshness can challenge what a man will store up in his ghostly heart.

- bewilderment : If you are bewildered, you are very confused and cannot understand something or decide what you should do. (Cobuild 사전)

- embarrassed : A person who is embarrassed feels shy, ashamed, or guilty about something. (Cobuild 사전)

- the colossal vitality of his illusion : the colossal significance of that light had now vanished forever(112:28-29) 개츠비의 것은 거대하다(colossal)